No lights? No problem – four ways to manipulate natural light
Who said that you can’t make a movie without film light?
The goal of cinematography is to create a stunning image that will take your breath away. Everyone knows that lighting goes a long way in making a shot look good, but how do you achieve cinematic lighting when shooting a low-budget or no-budget movie?
The idea of cinematic lighting refers to the qualities or properties of light used in films that are linked by common characteristics such as contrast, quality and shape. Many cinematographers control these three factors with and without movie lights. cash In Depth Cine’s Breaking down the four ways a cameraman shapes natural light to create cinematic lighting.
The easiest way to light a scene is to reduce the lighting with a negative fill. Instead of adding light on one side of the subject’s face to create depth and contrast, a negative fill creates contrast by reducing the light on one side of the subject’s face. Negative fill creates the perfect shadow to make it look like a light source is right on top of the subject. DPs reduce light by placing a black surface wherever light shouldn’t be reflected, e.g. B. on the wall, floor and ceiling.
Negative fill creates a contrast and shape that is soft and natural and creates a larger fill of the subject as it is placed closer to the scene. Common tools for this are a frame with a blackout, a 4×4 floppy disk, the black side of a polyboard or pieces of Duvetyne, a matt black material.
A more cost-effective approach would be to use a black sheet or cloth, a black or dark-painted wall, or some black trash bags. Negative fill is a fantastic way to create a stark contrast with items you might find under your kitchen sink.
Unlike negative fill, bounce adds light to a subject. Natural light is reflected off a white or reflective surface to create a new light source. This light can fill in shadows or be positioned as a key light for a scene. The power of the reflected light is less than that of the direct light source, so pay attention to the time of day you are shooting.
To find out where to reflect the light from, aim the light at the floor and slowly change the angle until the light is in the right position. Bounce Light can also be used to create stronger shadows by using a mirror or a silver polyboard. Usually a white surface is used for a softer reflected light, e.g. B. a frame with a white Ultra-Bounce or Meslin textile, a white poly plate or a foam core.
The white sheets on your bed can be positioned so that they reflect the light perfectly.
Diffusing light is a common cinematic technique used to soften light without reflecting it. This is an inexpensive way to get softer and more cinematic lighting than sunlight. Translucent modifiers are placed between the light source and the subject to soften contrast and shadow falloff.
A 12×12 frame with half a silk fabric can be placed between the sun and the subject in order to soften the intensity of the sunlight and compensate for shadows. Silk or a handkerchief, 416 gels, or even the diffuser portion of a 5-in-1 reflector can be used to diffuse any natural light.
Sheets, paper, or a shower curtain can be used to achieve the same effect.
Shaping or controlling how light hits an object is an important aspect of creating cinema lighting without spotlights. Placing lights or a grip tool such as flags between the light source and the subject affects the texture and shape of the light incident on the scene. Flags and black textiles mounted on frames of different sizes can be used to block out certain light components.
The most common molding tools used by DPs include netting, camouflage fabric, a biscuit, or a dingle (a branch attached to a stand). While these tools can shape the light, curtains and blinds are basic and easy ways to shape the light naturally. Any household item can also be moved in front of any light source to shape the light.
Working without light has some advantages, but also some disadvantages. Lights are a constant source of light. So if you shoot without them, the exposure can change if the sun changes position or hides behind a cloud. Working without movie lights is also not necessarily advisable. You can, but you will get better results if you combine natural light, film light, and negative fill.
Ultimately, it is the cameraman’s choice whether he wants to work with or without light. Working without movie lights can increase a cameraman’s appreciation for working with natural light and allow you to find new and creative ways to manipulate the sun to produce the best looking light that adds depth to a scene. Knowing how to light a scene without film light will keep your cinematography better informed for future projects.
Do you have any tips for lighting a scene with no light? Share your wisdom with us in the comments below!